I've been motivated to go back through my old schoolbooks lately. From
The Japanese Film: Art And Industry:
The benshi was so important to the early films and has played such a major rôle in the history of the films in Japan, his influence continuing even to this day, that an understanding of what he did and why is basic to any understanding of Japanese movies. Essentially, he explained. He was somewhat like the lecturer who used to appear with travel films in the West, introducing the film by telling you what you were going to see and then, as the film progressed, telling you what you were seeing. ...
( Read more... )
The writers treat the benshi as a slightly ridiculous historical curiosity, but the combination of a silent film with a live narrator and orchestra is so different from the present day experience of movies that it should probably be considered a different form of theater altogether, and one that is in theory no more obsolete than other forms of live theater.
But the practice sounds as though it's nearly extinct. In a 2002 interview posted on
MidnightEye.com, Midori Sawato, its most prominent contemporary practitioner, estimates that there were then fewer than 10 benshi working in Japan.
That interview and accompanying article contain all kinds of great info about silent film history in Japan and elsewhere, but this bit is particularly cool:
That any films do remain from [the silent] period is largely down to the work of one man, Shunsui Matsuda. Born in 1925, Matsuda began his vocation working as a child benshi. In 1947, when post-War shortages meant there really weren't a lot of films being shown in the more provincial areas of Japan, he found himself part of a troupe of itinerant benshi travelling around Kyushu, whose burgeoning coal mining industry had attracted a lot of workers to the region. The desperate shortage of any means of entertainment in the area meant that reruns of old silent films were still immensely popular. The story goes that Matsuda discovered one of the projectionists snipping out footage from one of these films because it "dragged the film down", and thereupon decided to dedicate his life to the act of preserving these early cinematic documents.
A troupe of itinerant benshi! The book makes being a benshi sound at least a little glamorous in trying to illustrate their former prominence, but just the phrase
a troupe of itinerant benshi implies the existence of a whole demimonde not even hinted at in the book.
UrbanConnections.co.jp is selling an entire book in English about
the benshi for ¥2075 with shipping (~20 USD) and I'm sorely tempted to order it.
I've long been a fan of tv shows like popup video, events that involve live additions to filmed material, and amateur translation scenes, so the idea of combining the roles of translator, storyteller, film historian, critic and maybe even stand up comedian in a single performer is pretty appealing.
I think the closest thing I've ever had to a benshi-style movie experience was in college when my professor of German film, a German gentleman who had been just a boy at the end of World War II, stood up next to a faded and unsubtitled print of Hitler Youth Quex and translated the dialogue for us on the fly, with commentary on the cinematic and rhetorical devices used. Very cool and enriching in a way that no regular film showing could've been.